"Traveling through China’s far western province with a box of prints, a pair of scissors, a container of glue, colored pencils, and a sketchbook, I asked willing collaborators to draw on, reassemble, and use their own tools on my photographs of the region. I hoped that the new images would bring Uyghur perspectives into the work and facilitate a new kind of dialogue with the people I met—one that was face-to-face and tactile, if mostly without words."—the publisher

"At first sight, reality appears chaotic and anarchic. If events have any kind of logic to them, it lies well hidden behind an overlay of banality so thick as to make it invisible. And yet, at certain exceptional moments, life slackens and reveals itself. The automaton allows its innards be glimpsed, and its mechanism becomes momentarily evident as the logic of chaos."—the publisher

"Joachim Brohm rose to prominence in the early 1980s, one of the first photographers in Europe to take pictures exclusively in colour, connecting the everyday cultural landscape with the new possibilities of colour photography. This collection titled Typology 1979 is one of his very earliest series, depicting 35 allotment sheds from the Ruhr valley region of Germany, painterly images that are an everyday inventory – of garden structures, of human activity. Influenced by the great American photographers such as William Eggleston and Robert Adams, he also looked to his German contemporaries, Bernd and Hilla Becher, whose ‘typologies’ are heralded in the collection’s title."—the publisher

"Photographers Rinko Kawauchi and Terri Weifenbach met for the first time in Brooklyn five years ago. After corresponding via email for some time, and eventually attaching photographs to those messages, they decided to have a conversation only using their own photographs. More than a year later, these personal picture letters are now the subject of a show at IMA Gallery in Tokyo and this marvellous double book. Flipping through the pages of the mirrored bindings sets each artist’s work opposite that of the other in a captivating progression of delicate and subliminal beauty: small observations and radiant nuances plucked from the respective worldviews of these two unusual talents." —the publisher

"The starting point of Laurence Aëgerter’s facsimile Cathédrales, is the 1949 catalogue Cathedrals and churches of France, published by the Ministry of Public Works, Transport and Tourism. The artist placed the book by the window in her studio and allowed the incidence of natural light to impact a reproduction of the façade of the Saint-Étienne cathedral in Bourges. She photographed the book every minute during two hours, obtaining 120 photographs of light variations upon this unique image. The play of shadow and light of the Gothic architecture in the orignal photograph, is superimposed by a new shadow that slowly glide on the cathedral and, imperceptibly but irreparably, swallows it up. Aëgerter’s photographs contain thus three stratified layers of times : the 12th century, 1949 and 2012. Cathédrales presents a photographic sequence and as we turn the pages, we are aware of the temporal dimension of this visual exploration, a metaphor of transcience." —the publisher